KATSURA FUNAKOSHI (1951 - ) Born in Morioka City, Iwate Prefecture, Japan; Lives and Works in Tokyo

Total Page:16

File Type:pdf, Size:1020Kb

KATSURA FUNAKOSHI (1951 - ) Born in Morioka City, Iwate Prefecture, Japan; Lives and Works in Tokyo KATSURA FUNAKOSHI (1951 - ) Born in Morioka City, Iwate Prefecture, Japan; lives and works in Tokyo EDUCATION 1975 B.A., Tokyo Zokei University, University of Art and Design, Department Sculpture 1977 M.A., Tokyo National University of Fine Arts and Music SOLO EXHIBITIONS 2011 Katsura Funakoshi: Recent Sculptures and Drawings, Annely Juda Fine Art, London, United Kingdom 2008 Summer Villa: The Sculptures, Drawings, and Prints of Katsura Funakoshi in Art Deco Space, Tokyo Metropolitan Teien Art Museum, Tokyo(catalogue) Katsura Funakoshi, Tohoku University of Art and Design, Yamagata, Japan Katsura Funakoshi: New Sculpture, Greenberg Van Doren Gallery, New York Katsura Funakoshi: New Works, Nishimura Gallery, Tokyo 2007 Katsura Funakoshi, Tohoku University of Art and Design 2006 Nishimura Gallery, Tokyo 2005 Katsura Funakoshi - Ernst Barlach. A Map of The Time, Annely Juda Fine Art, London; traveled to Ernst Barlach Haus - Stiftung Hermann F. Reemtsma, Hamburg 2004-2003 Katsura Funakoshi Works: 1980-2003, Museum of Contemporary Art, Tokyo; traveled to Tochigi Prefectural Museum of Fine Arts; Hokkaido Asahikawa Museum of Art; Takamatsu City Museum of Art; Iwate Museum of Art; Hiroshima City Museum of Contemporary Art 2002 Nishimura Gallery, Tokyo (Drawings) 2001 Nishimura Gallery, Tokyo 2000 Continental Gallery, Sapporo Gallery Tamura, Hiroshima (Drawings) 1999 Katsura Funakoshi: Sculptures and Drawings, Annely Juda Fine Art, London; traveled to Kunsthalle Recklingahusen; Städtische Museen Heilbronn 4 Cats, Nagoya (Prints) Matsuya Tokyo Ginza (Drawings) 1998 Bunkamura Gallery, Tokyo (Prints) 1997 Galerie de Printemps, Printempas Ginza (Prints) Exhibition of the 18th Hirakushi Denchu Prize, Ibara Municipal Denchu Art Museum, Okayama Space Try, Tokyo (Prints) 1996 Annely Juda Fine Art, London Nishimura Gallery, Tokyo 1995 Nishimura Gallery, Tokyo (Drawings) Session House, Tokyo (Prints) 1994 Stephen Wirtz Gallery, San Francisco André Emmerich Gallery, New York 1993 Nishimura Gallery, Tokyo Today's Artists V - 1993/ Funakoshi Katsura, The Museum of Modern Art, Kamakura 1991 Nishimura Gallery, Tokyo (Etchings) Morioka Daiichi Gallery, Iwate (Prints) Gallery Shirakoawa, Kyoto Annely Juda Fine Art, London 1990 Nishimura Gallery, Tokyo (Drawings) 1989 Comme des Garçons, Tokyo Arnold Herstand & Company, New York 1988 Nishimura Gallery, Tokyo 1985 Nishimura Gallery, Tokyo 1982 Gallery Okabe, Tokyo SELECTED GROUP EXHIBITIONS 2014 40th Anniversary Exhibition, Nishimura Gallery, Tokyo, Japan 2011 Summer Show 2011, Nishimura Gallery, Tokyo 2009 35th Anniversary: Seven, Nishimura Gallery, Tokyo 2009-2008 Invention/Tradition, Crown Point Press, San Francisco 2008 September Show '08, Nishimura Gallery, Tokyo Summer Show, Nishimura Gallery, Tokyo 2007 Vital Signs - Reality of nine contemporary artists, Yokosuka Museum of Art 2005 Asian Potential Art Nursed by Sea and Island, Aichi Prefectural Museum of Art Art Fair Tokyo 2005, Tokyo International Forum Exhibition Hall 2004 Art in Wood, Gunma Museum of Art, Tatebayashi New Works by Five New Artists, Nishimura Gallery, Tokyo 2003 Yasutake Funakoshi and His Family - from the Collection of People in Morioka, Morioka Takuboku & Kenji Museum 2002 Sculptors of Eastern Japan, Tokyo Station Gallery Human Figure, Asahi Beer Oyamazaki Village Museum, Kyoto Zokei The Sculpture Show, Teaching Staffs of Sculpture Course, Yokoyama Memorial Manzù Museum, Tokyo Zokei University Commemorating The 10th Anniversary of Takashimaya Cultural Foundation, Takashimaya Art Award Exhibition, Tokyo Nishonbashi Takashimaya et al. 2001 The Form of the Mind/ The Mind of Form: Exhibition for Children of the 21st Century, The Niigata Prefectural Museum of Modern Art Art for the Spirit: Eyes Searching for Eternity, Hokkadio Museum of Modern Art Contemporary Art after 1980, Aichi Prefectural Museum of Art September, Nishimura Gallery, Tokyo Between Earth and Heaven: New Classical Movements in the Art of Today,The Ostend Museum of Modern Art 2000 Skulpturen von Künstlern aus 4 Kontinenten, Der Pavillon des Heiligen Stuhls auf der Expo 2000, Hanover Der Verlorene Blick. Der Kopf in Skulptur, Zeichnung und Bild, Galerie Lelong, Zürich Kaleidoscope of Time, Fukui City Art Museum Shanghai Biennale 2000, Shanghai Art Museum 1999 Setagaya Art 1999, Setagaya Art Museum, Tokyo Image of Sculpture, Asahikawa Sculpture Museum France - Japon - L'Art Sans Frontière, Bunkamura Gallery, Tokyo Noontime Meditation - Contemporary Japaense Art Having Inner Sight, Tochigi Prefectural Museum of Fine Arts, Utsunomiya Summer Show 1999, Nishimura Gallery, Tokyo NICAF Tokyo 1999, International Contemporary Art Festival, Exhibition Hall, Tokyo International Forum Destruction and Construction 1999, Chinretsukan Gallery, The University Art Museum, Tokyo National University of Fine Arts and Music Selected Works from the Permanent Collection, Tokyo Operate City Art Gallery The Trends of the Nakahara Teijiro Prize, Asahikawa Museum, Tokyo 1998 Setagaya Art 1998, Setagaya Art Museum, Tokyo A Century of Modern Art - Selected Works from the Collection, Aichi Prefectural Museum of Art, Nagoya Human Figure, Asahikawa Sculpture Museum Art Chicago, Festival Hall, Navy Pier, Chicago Summer Show 1998, Nishimura Gallery, Tokyo ACAF 6: The 6th Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne Sculptors in Tohoku, The Akita Museum of Modern Art 1997 5th NICAF Tokyo 1997, International Contemporary Art Festival, Tokyo International Exhibition Center Collection I - Sculpture, Nishimura Gallery, Tokyo On Paper 1997, Nishimura Gallery, Tokyo 1996 Kunst des 20, Jahrhunderts, Museum Ludwig, Köln Narcissism: Artists Reflect Themselves, California Center for the Arts Museum, Escondido Enjoy Art Part II, Isetan Museum, Tokyo Masterpiece of Corporation Collection, Hotel Okura, Tokyo The 45th Anniversary, Part 1 - A Dialogue Between Tools and Arts, The Museum of Modern Art, Kamakura Images of Women in Japanese Contemporary Art 1930s - 1990s, The Shoto Museum of Art, Tokyo 1995 Art in Japan Today 1985 - 1995, Inaugural Exhibition, Museum of Contemporary Art, Tokyo Tsubaki-kai 1995, Shiseido Gallery, Tokyo Japanese Culture: The Fifty Postwar Years 1945-1955, Meguro Art Museum; traveled to Hyogo Prefectural Museum of Modern Art, Kobe; Hiroshima City Museum of Contemporary Art; Fukuoka Prefectural Museum of Art Anthony Caro Exhibition, Museum of Contemporary Art, Tokyo 1994 Setagaya Art 1994, Setagaya Art Museum, Tokyo Contemporary Human Figure, Hokkadio Museum of Modern Art, Sapporo New Works at New Gallery, Nishimura Gallery, Tokyo A Sculpture Show, Nishimura Gallery, Tokyo Artventure, The Museum of Modern Art, Shiga 1993 Tsubbaki-kai 1993 Exhibition, Shiseido Gallery, Tokyo Karuizawa Drawing Biennale 1993, Wakita Museum of Art, Karuizawa-machi, Nagano and Marugame Genichiro Inokuma Museum of Contemporary Art, Marugame City, Kagawa History of Japanese Modern Sculpture, Kushiro Lifelong Learning Art Gallery 1992 Prediction, Nishimura Gallery, Tokyo Japanese Modern and Contemporary Wood Sculptures, The Okayama Prefectural Museum of Art Documenta IX, Kassel The Boundary Rider, 9th Biennale of Sydney Human Images in 20th Century Art, Museum of Modern Art, Saitama Amuseland 1992, Hokkaido Museum of Modern Art 1991 Setagaya Art 1991, Setagaya Art Museum, Tokyo Sculptures/ Objects, Nishimura Gallery, Tokyo Against Nature: Homecoming Exhibition, ICA Nagoya A Current of Contemporary Art in Japan: Sculpture, The Museum of Modern Art, Toyama Tokyo Art Expo, Tokyo Convention Hall 1990 Transformation of Material and Space, Kanagawa Prefectural Hall Gallery, Yokohama Inside Eye: The 1st - 1990, Tokyo Ginza Art Center; traveled to Kyoto Art Center Toyama Now 1990, The Museum of Modern Art, Toyama New Wave of Wood Sculptures, Hokkaido Asahikawa Museum of Art Japanische Kunst der 8oer Jahre, Frankfurter Kunstverein et al. 1989 Setagaya Art: Art and Crafts produced by Residents of Setagaya Ward, Setagaya Art Museum Contemporary Works, Gallery of Tokyu Department Store, Nihonbashi,Tokyo Art Exciting 1989, The Museum of Modern Art, Saitama Japanese Ways, Western Means - Art of the 1980s in Japan, Queensland Art Gallery, South Brisbane Sculpturesque Image, Gallery Haku, Osaka Against Nature: Japanese Art in the Eighties, San Francisco Museum of Modern Art; traveled to Akron Art Museum; List Visual Art Center at MIT, Cambridge; Bank of Boston Art Gallery; Seattle Art Museum; The Contemporary Arts Center, Cincinnati; Grey Art Gallery, New York University; Contemporary Arts Museum, Houston The XX Sáo Paulo Biennale, Sáo Paulo 1988 Contemporary Japanese Sculpture and Prints, The Rotunda Exchange Square, Hong Kong The XXXXIII Venice Biennale, Venice Seven Sculptors, Nishimura Gallery, Tokyo 1987 Shiga Annual 1987 - Expressions of Human Figures, The Museum of Modern Art, Shiga Situation of Contemporary Art of Tohoku II, Fokushima Prefectural Museum of Art New Trends in Contemporary Sculpture: 5 Japanese Artists, Salvatore Ala, New York 1986 Exhibition of Monu-iu-hito, ör B, Tokyo Art in Tokyo 1986 IMA Vol. 1, Factory, Tokyo Three Artists, Nishimura Gallery, Tokyo New Trends in Contemporary Sculpture - 10 New Outstanding Sculptors of America and Japan, Contemporary Sculpture Center, Tokyo and Osaka; traveled to Sapporo Art Park; Salvatore Ala, New York A Scene of Contemporary Japanese Art 3: The New Generation, Miyagi Museum of Art 1985 Black by 4 Artists, Morioka Daiichi Gallery, Iwate Tama Vivant 1985, Tama University of Fine Arts, Gallery Space 21, Tokyo The 8th Exhibition of Shojukai,
Recommended publications
  • Exhibition Schedule
    November 8 (Sun.) - December 13 (Sun.), 2020 Special Exhibits at the Masterpieces Collection Room 2 Thematic Exhibition February 20 - March 2, 2021 Reading and Re-envisioning The Tale of Genji Tea Scoop, named Namida ("Tears") 2020 - 2021 through the Ages It is said that Sen-no-Rikyū (1522-1591), in April March Exhibition Rooms at Hōsa Library his last days, carved this bamboo tea scoop and used it in his last tea gathering, after Toyotomi Hideyoshi (1537-1598) The Tale of Genji written by Murasaki Shikibu is a masterpiece of classic ordered punishment upon him. March 28, the day of Rikyū's death, literature that has been read continuously over the course of a thousand is remembered as a memorial day called "Rikyū-ki." The scoop was Exhibition Schedule years. The National Treasure The Diary of later owned by Furuta Oribe who made the outer case for the scoop, Murasaki Shikibu Illustrated Handscroll in the then by Tokugawa Ieyasu and by the 1st Owari Lord Tokugawa THE TOKUGAWA ART MUSEUM collection of Gotoh Museum, Tokyo, will be on Yoshinao. HŌSA LIBRARY CITY of NAGOYA special exhibit and this exhibition will unravel the charm of Japan’s world-famous Tale of February 6 (Sat.) - April 4 (Sun.), 2021 Genji by tracing the cultural history pertaining to the tale. Special Exhibition The Doll Festival of the Owari Tokugawa <Chapter "Kiritsubo" from the Tale of Genji> Edo period, 1655 Family Private Collection Exhibition Rooms 7-9 at The Tokugawa Art Museum Special Exhibits at the Masterpieces Collection Room 5 Focused on the Hina dolls and doll accessories passed down in the Owari November 8 - December 13, 2020 Tokugawa family, this exhibition presents the extravagant and refined world of dolls that is The Diary of Murasaki Shikibu Illustrated Handscroll (designated a distinctive of an elite daimyō family.
    [Show full text]
  • Reading and Re-Envisioning the Tale of Genji Through the Ages
    Symbols of each chapters of The Tale of Genji Thematic Exhibition Ⅳ Dissemination of the Genji Tale from the Genji-kō Incense Game Reading and Re-envisioning The Tale of Genji attracted many readers, irrespective of gender, through "Genji-kō" is a name of the kumikō incense game which is tasting different the beauty of the text and its thorough depictions fragrances and guessing the name, developed in Edo period. Participants The Tale of Genji of every aspect of classical court culture, its skillful would taste 5 different fragrances and draw a horizontal line to connect the psychological portrayals of the characters, and same fragrance. Thus drawn, figures appear in 52 different shapes, matching through the Ages its diverse world view based on Japanese the number of chapters of The Tale of Genji except the first and the last ones, and Chinese literature, various arts, and and they are called "Genji-kō" design. The "Genji-kō" design often appears in Buddhism. Not only did it have a significant impact on various traditional craft works as well as design of Japanese confectionery later literary works, but its influence can also be seen in associated with the story of The Tale of Genji. Japanese performing arts, such as Noh theater, and cultural arts, such as incense ceremony (kōdō), and tea ceremony (sadō), as well as the arts and crafts that accompany them. 46 37 28 1 9 1 0 1 “The Tale of Genji,” written Shiigamoto Yokobue Nowaki Usugumo Sakaki Kiritsubo At the same time, as a narrative that features Art Museum & The Tokugawa 2020 / By Hōsa Library, City of Nagoya Nov.
    [Show full text]
  • Introduction This Exhibition Celebrates the Spectacular Artistic Tradition
    Introduction This exhibition celebrates the spectacular artistic tradition inspired by The Tale of Genji, a monument of world literature created in the early eleventh century, and traces the evolution and reception of its imagery through the following ten centuries. The author, the noblewoman Murasaki Shikibu, centered her narrative on the “radiant Genji” (hikaru Genji), the son of an emperor who is demoted to commoner status and is therefore disqualified from ever ascending the throne. With an insatiable desire to recover his lost standing, Genji seeks out countless amorous encounters with women who might help him revive his imperial lineage. Readers have long reveled in the amusing accounts of Genji’s romantic liaisons and in the dazzling descriptions of the courtly splendor of the Heian period (794–1185). The tale has been equally appreciated, however, as social and political commentary, aesthetic theory, Buddhist philosophy, a behavioral guide, and a source of insight into human nature. Offering much more than romance, The Tale of Genji proved meaningful not only for men and women of the aristocracy but also for Buddhist adherents and institutions, military leaders and their families, and merchants and townspeople. The galleries that follow present the full spectrum of Genji-related works of art created for diverse patrons by the most accomplished Japanese artists of the past millennium. The exhibition also sheds new light on the tale’s author and her female characters, and on the women readers, artists, calligraphers, and commentators who played a crucial role in ensuring the continued relevance of this classic text. The manuscripts, paintings, calligraphy, and decorative arts on display demonstrate sophisticated and surprising interpretations of the story that promise to enrich our understanding of Murasaki’s tale today.
    [Show full text]
  • Download Artist's CV
    Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] KATSURA FUNAKOSHI Born 1951 Selected Solo Exhibitions 2019-20 Katsura Funakoshi: A Tower in the Night Forest, Work 2011-2019, Van Doren Waxter, New York, USA 2016 The Sphinx in Myself, Mie Prefectural Art Museum, Tsu, Japan Galerie Claude Bernard, Paris, France 2015-16 Museum Wiesbaden, Germany 2015 Galerie Albrecht, Berlin, Germany 2014 Claude Bernardi, Paris, France 2013 Bunkamura, Tokyo, Japan 2012 Menard Art Museum, Aichi, Japan 2011 Kami City Art Museum, Kochi, Japan Recent Sculptures and Drawings, Annely Juda Fine Art, London, UK 2010 Nishimura Gallery, Tokyo, Japan Contemporary Art Museum, Kumamoto, Japan 2009 Gallery Tamura, Hiroshima, Japan 2008 Nishimura Gallery, Tokyo, Japan Greenberg Van Doren Gallery, New York, USA Tokyo Metropolitan Teien Art Museum, Tokyo, Japan Ando Gallery, Tokyo, Japan 2007 Gallery Tamura, Hiroshima 2006 Cite Du Livre, Aix En Provence Nishimura Gallery, Tokyo 2005 Continental Gallery, Sapporo VAT No. GB 234 4061 93 Incorporated as Annely Juda Fine Art Ltd. Registered in England and Wales No. 2261663. Registered office as above. Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] Annely Juda Fine Art, London / Ernst Barlach Haus, Hamburg Tokyo Zokei University, ZOKEI Gallery 2004 Museum of Contemporary Art Tokyo Gallery Tamura, Hiroshima Galerie Frank
    [Show full text]
  • MUSEUMS and ART GALLERIES PAGE 1 / 10
    MUSEUMS and ART GALLERIES PAGE 1 / 10 PG-801 MUSEUMS and ART 10th Fl., Tokyo Kotsu Kaikan Bldg., 2-10-1, Yurakucho, Chiyoda-ku, Tokyo 100-0006 GALLERIES Tel. (03)3201-3331 In Japan, there are more than 1,500 museums and art galleries Notes: and their numbers are increasing year by year. 1) Admission fees will be higher than indicated when special exhibi- The present leaflet, however, mainly introduces those found tions are held. in and around such major tourist centers as Tokyo, Kyoto and 2) The museums are closed temporarily during changes of exhibi- Osaka, which are easily accessible to visitors. Regarding similar tions. institutions in other districts, only those comparatively well 3) The museums are generally closed from Dec. 28 to Jan. 4. favored by visitors from abroad have been listed. 4) “Open:” shows opening hour and closing hour, but ticket win- Listed are art galleries, folk history museums, treasure houses dows are usually closed 30 minutes before closing time. and folk art museums. Major science museums and those of a 5) At most museums, identification labels for objects and pam- unique nature are also introduced. phlets are written in Japanese. These institutions are arranged geographically from north to 6) Telephone numbers in parentheses are the area codes for long- south and are classified roughly by district and city according to distance calls. their location. 7) Mon. (Tue)* = Closed on Mon. however, when Mon. falls on a The information contained in this leaflet is based on current national holiday, the museum is open and it is closed on the fol- data as of July 2007.
    [Show full text]
  • The Deer Scroll by Kōetsu and Sōtatsu
    The Deer Scroll by Kōetsu and Sōtatsu Reappraised Golden Week Lecture Series— Four Masterpieces of Japanese Painting: A Symposium Miyeko Murase, Former Consultant for Japanese Art, Metropolitan Museum of Art and the Takeo and Itsuko Atsumi Professor Emerita, Columbia University Poem Scroll with Deer (part), Hon’ami Kōestu and Tawaraya Sōtatsu, early 17th century, handscroll, ink, gold and silver on paper, 13 3/8 x 372 in., Gift of Mrs. E. Frederick, 51.127 It has been quite some years since I last spoke here at this museum, so many in fact that I have lost count. It is really wonderful to be back, and I want to thank director Mimi Gates and curator Yukiko Shirahara, who invited me to speak today on the world-famous Deer Scroll by Sōtatsu and Kōetsu. This proud possession of the Seattle Art Museum is one of the most beautiful paintings ever created by Japanese artists.1 The scroll just came back from Japan after extensive restorative work. Although the handscroll itself does not bear any title, it is generally known as the Deer Scroll because the entire scroll is filled with images of deer, which are shown either singly, in couples, or in large herds. The animals are painted only in gold and/or silver ink, as is the very simple setting of sky, mist, and ground. As you may have noticed, these beautiful pictures of deer are really a background for the equally exquisite writings of waka poems in black ink. Here we have a symphony of three arts - poetry, painting, and calligraphy - as a testimonial to the ancient credo of Asia that these three arts occupy an equally important place in life and culture.
    [Show full text]
  • TEFAF Catalogue, Kigen (Genesis), Building, Japan / the Gotoh Museum, Japan / Herbert F
    TEFAF Maastricht 2017 10th March – 19th March 2017 Opening Preview on 9th March Stand 237 (new location) The Yufuku Collection 2017 Our Raison D'etre 06 Hisao Domoto 42 Naoki Takeyama In recent years, the emergence of a group of Japanese artists who have spearheaded a new way of thinking in the realm of contemporary art has helped to shift paradigms and vanquish stereotypes borne from the 19th century, their art and aesthetic understood as making vital contributions to the broader history of modern and contemporary art. This new current, linked by the phrase Keisho-ha (School of Form), Sueharu Fukami Hidenori Tsumori 10 46 encompasses a movement of artists who, through the conscious selection of material and technique, create boldly innovative works that cannot be manifested by any other means. The term craft holds no true meaning to this movement, nor do the traditional dichotomies that have traditionally separated fine art 14 Satoru Ozaki 50 Nobuyuki Tanaka from craft art. In the words of Nietzsche, "Craft is dead." A new age beckons. No country exemplifies this expanding role more so than the artists of contemporary Japan, a country that continues to place premium on elegance in execution coupled with cutting-edge innovation within 18 Niyoko Ikuta 54 Kanjiro Moriyama tradition. No gallery represents this new movement more so than Yufuku, a gallery that has nurtured and represented the Keisho School from its conceptual inception. Michelangelo once said, "every block of stone has a statue inside, and it is the task of the sculptor to 22 Ken Mihara 58 Takahiro Yede discover it." Our artists are no different, wielding material and technique to create a unique aesthetic that can inspire future generations, yet would resonate with generations before us, regardless of age, creed or culture.
    [Show full text]
  • Explore Japan Hokkaido
    Welcome to JAPAN Open a world map and look at the extensive Asia/ Pacific region. Almost at the very center, you'll discover the Japanese archipelago stretching north to south along the eastern edge of the Asian continent. Japan has lured untold numbers of adventurers since Marco Polo first introduced it to the world back in the 13th century as " Zipangu — the Land of Gold." Though the Japan of today may not be a land of gold, the "Neo Zipangu" does possess powerful and magnet-like attractions: great cultural variety, colorful and inspiring natural attractions beautifully interwoven by distinct four seasonal changes, not to mention the overflowing hospitality of its people. As such, Japan is vigorously gaining in popularity as a tourist destination that is easily accessible from any part of the world. A destination any one can enjoy on a reasonable budget and with a sense of complete security. This is where the past literally greets the future. This is where they both mingle. Japan has a long history of absorbing advanced cultures from the Asian Continent from ancient times through the Middle Ages. Later it began to assimilate elements of Western civilization from the latter half of the 19th century. By selectively assimilating these many cultural influences, the country has successfully added rich new dimensions and depth to its indigenous culture. This marvelous harmony between the refinement of things and concepts "Oriental" blended with the leading-edge technology and the often Ultramodern urban lifestyle you find in Japan today is truly proof of a long and eloquent history.
    [Show full text]
  • East Asian Art Department Records EAA Finding Aid Prepared by Bertha Adams, Leslie O'neill and Susan Anderson
    East Asian Art Department Records EAA Finding aid prepared by Bertha Adams, Leslie O'Neill and Susan Anderson. Last updated on January 31, 2017. 03/31/2011 Philadelphia Museum of Art Archives East Asian Art Department Records Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................3 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 4 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 Exhibitions............................................................................................................................................... 7 - Page 2 - East Asian Art Department Records Summary Information Repository
    [Show full text]
  • Outline of the National Institutes for Cultural Heritage, 2017 1
    JR Uguisudani Station Tokyo National Research Institute for Cultural Properties National Institutes for Cultural Heritage Secretariat International Library of West Gate Children’s Literature TOKYO NATIONAL Kuroda MUSEUM Memorial Hall Main Gate ◀To Tokyo Metro Nezu National Science Station Tokyo Metropolitan Museum Art Museum Fountain National Museum of Western Art Police Box Ueno park JR Ueno Tokyo Metropolitan Station 2017 Ueno Zoo Festival Hall Outline of the National Institutes Park Exit Tokyo Metro Ueno Station for Cultural Heritage N Keisei Ueno Station Access: (JR Line) 10 min. from Ueno or Uguisudani Station (Ginza or Hibiya Tokyo Metro Line) 15 min. from Ueno Station (Chiyoda Tokyo Metro Line) 15 min. from Nezu Station (Keisei Line) 15 min. from Keisei Ueno Station 13-9 Ueno Park, Taito-ku, Tokyo, 110-8712 Phone: +81-3-3822-1196 URL: http://www.nich.go.jp/ 三 校 04-574_英語版-表紙1-4.indd 1 2017/06/13 8:55:45 ○Membership Tokyo National Museum and Nara National Museum are supported by the Supporting Member system, while Kyoto National Museum is supported by the Seifukai Association. To encourage people to visit our museums more frequently, Tokyo National Museum, Kyoto National Museum, Nara National Museum and Kyushu National Museum have all established their own membership systems. In addition, to mark the 10th anniversary of the establishment of the National Institutes for Cultural Heritage, a new “National Museums Members Pass” CONTENTS system has been established, which applies to all four National Museums. We welcome new members at any time of the year. Tokyo National Museum Kyoto National Museum Nara National Museum Kyushu National Museum Message����������������������������1 Name National Museum Members Pass To mark the 10th anniversary of Annual its establishment, the NICH has Ⅰ OutlineoftheNationalInstitutesforCulturalHeritage���2 Regular 2,000 Yen (tax included) adoptedanewlogo.
    [Show full text]
  • Ebook Download the Diary of Lady Murasaki 1St Edition
    THE DIARY OF LADY MURASAKI 1ST EDITION PDF, EPUB, EBOOK Murasaki Shikibu | 9780140435764 | | | | | The Diary of Lady Murasaki 1st edition PDF Book He sees four discrete sections, beginning with the dated descriptions of the birth, followed by two undated sections of introspective vignettes, and a final dated section in chronological order. Fairly dry with its dogged insistence of random details, told in a cool, detached, slightly depressing voice. Jan 13, Richie rated it liked it Shelves: autobiography , heian. As long as you are free from such faults, people will surely refrain from listening to tittle-tattle and will want to show you sympathy, if only for the sake of politeness. I wanted to read a non-Western memoir and a memoir from Japan's medieval era the Heian period , a delicate, diaphanous world of gossip, court frivolity, fastidious fashion, and secret musings and longings. Instead we are left to mere speculation for a lot of parts, including as to why the tone changes from a journal style to that of a letter written to an intimate. She is unflinching in her criticism of aristocratic courtiers, seeing beyond superficial facades to their inner core, a quality Keene says is helpful for a novelist but less useful in the closed society she inhabited. The Diary is also a work of great subtlety and intense personal reflection, as Murasaki makes penetrating insights into human psychology her pragmatic observations always balanced by an exquisite and pensive melancholy. View all 5 comments. Detailing all the costume and rituals of the court, some readers may get bored of reading paragraphs dedicated to a certain woman's ceremonial dress or what exactly happens on the 5th day of a Prince's life.
    [Show full text]
  • Japan Cultural Expo 2020 Introduction of Major Exhibits
    Japan Cultural Expo 2020 Introduction of Major Exhibits As of October 2020 Office for Promotion of New Arts and Culture Creation, Arts and Culture Division, Agency for Cultural Affairs, Government of Japan Japan Cultural Expo Secretariat at the Japan Arts Council ◆ Japan Cultural Expo Special Performance: Japanese Music, Song and Dance (Recorded program) Tokyo National Museum / June 20, 2020 on BS Nippon Corporation, July 19, 2020 on NHK General TV Display of Japan’s Masterpieces and Restoration Techniques using Natural Materials ◆ The Kyoto City KYOCERA Museum of Art Inaugural Exhibition: 250 Years of Kyoto Art Masterpieces Kyoto City KYOCERA Museum of Art / June 2 – September 6 and October 10 – December 6, 2020 …1 ◆ Special Exhibition: Kōgei 2020-The Art of Crafting Beauty from Nature Tokyo National Museum / September 21 – November 15, 2020 …3 Kōgei Dining at Ishikawa Pref. and Shizuoka Pref. / October 31 and December 4, 2020 …3 ◆ The First of the National Crafts Museum’s Grand Opening Exhibitions: Japanese Crafts-Materials, Techniques and Regionalities National Crafts Museum (Ishikawa Pref.) / October 25, 2020 – January 11, 2021 …4 ◆ GO FOR KOGEI-Realize the Potential of Japanese Crafts in Hokuriku Kanazawa, Komatsu, Nomi Cities (Ishikawa Pref.); Toyama and Takaoka Cities (Toyama Pref.); Echizen and Sabae Cities (Fukui Pref.), etc. / July 2020 – February 2021 …5 ◆ The Heritage and Utilization of Japan’s Artistic Kōgei and Others, Using Restoration Techniques and Natural Raw Materials -Locally Presenting the Results of Restoration and
    [Show full text]